The question of meaning in the contemporary musical discourse has been discussed by the most distinguished biases, and this work aims to expand this discussion beyond the structures of writing from rhetoric, aiming to understand how such environments can be reversed and held in performance.Rhetoric supported the creation of an instrumental music, especially in the Baroque period, but it did not operate only formal and figurative dimensions, but it tremendously influenced the development of instrumental performance, hitherto without expression and relevance. It was through the study and practice that the composition could develop their own languages to musical instruments, systematizing idiomaticities, as has been initially addressed in the research project at the master level.However, this contact went beyond mere conceptual transposition, influencing even the mechanical assumptions behind performance, bringing the same qualities as the spokesman for the musicians, including those performative action as means of amplification of persuasion. By examining this relationship today, this work aims to finally understand if the performance mode can be a constructor of meaning given to discourse, and more, how these actions are emanated from the score, being here an analysis of the relationship between musical gesture in contemporary repertoire and instrumental gestures. Thus, it will complete a master's work started to systematically understand the relationship between rhetoric and contemporary music.
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